從解嚴前後（1977~1997）的全省美展西畫部門得獎作品~~ 看省展風格的移轉與權力結構的互動關係 ~

An Analysis on Prizewinning Western Paintings of Taiwan Art Exhibition from 1977 to 1997~ To Investigate Interaction Between Style Shift and Power Structure

曹筱玥(Tsau Saiav-yue)

指導教授 ： 黃光男

國立臺灣師範大學/藝術學院/美術學系/碩士(1999年)

摘要

全省美展創立至今已邁入半個世紀之久，是台灣規模最大，歷史最久的官辦美展，也可說是台灣的「沙龍」美展；光復初期，藉由全省美展的推動，許多畫家從中獲得成名的途徑，進而掌握了藝術的主導權。但曾幾何時，曾經叱吒藝壇的全省美展，卻在今日櫛比鱗次、各式各樣美術競賽競爭下，失去了昔日影響舉足輕重的地位，因此在此對省展做一時代性的回顧，可謂是十分有意義的；本文的研究時間鎖定以解嚴前十年（1977）為始直至今日做一全面性觀察，企圖將省展風格是否因解嚴而產生有什麼影響，及其結果背後所反映及隱涵的社會蘊意。
第一章中在說明本論文的研究主旨、重要性、範疇及研究方法，並針對前人的相關研究進行回顧和探討，進而對於本論文之整體架構及欲探討的問題進行說明。其次將研究的動機及方法做一交代；回顧省展初期至解嚴前的運作情況，將放入第二章做一探討；對於省展風格之內在要素的分析與其演變承襲之析探，將在第三章中做一全面性的透視；在第四章中，對於省展的單一風格與評審制度間的因果機制，導向歸因於權力結構的壓迫邏輯，而此類風格深刻影響了光復初期至戒嚴時期的藝術品味，以及台灣藝壇繪畫風格的走向，大眾的藝術品味，其他團體所舉辦的繪畫競賽取向，也或多或少受此影響。在西風東漸的情況下，省展風格遂在解嚴前，開始醞釀了鄉土寫實、類似立體主義、後繪畫性抽象及照相寫實主義等風格，逐步緩慢的進行著現代化的過程，但這樣牛步化的轉變，早已不敵其他繪畫團體勢力強烈的批判。第五章的結論中，試圖從解嚴前後（1977-1997）的西畫部得獎作品中，探討其所反映出的時代特質，及如何從日本的影響下走出台式西畫的繪畫風格，此改變與台灣本身後殖民的特性，有何相同及相異之處，以及全省美展今後在台灣藝壇所代表的重要性與時代意義。

關鍵字

全省美展

並列摘要

The Taiwan Art Exhibition, with a history of around 50 years, is the biggest official art exhibition in Taiwan. This “salon” is also the first to appear on the island. During the early days of Taiwan’s retrocession from Japanese rule, many artists became renowned through the popularity of the Taiwan Art Exhibition, and then further acted as key figures in the Taiwan art circle. Before long, however, the Taiwan Art Exhibition lost its decisive role it enjoyed in those golden days when various art contests sprung up like mushrooms. Therefore, it is rather meaningful to review the chronicle of the Taiwan Art Exhibition. This thesis focuses on the period starting from 1977, ten years before the martial law was lifted, to nowadays, and investigates if the style of the Taiwan Art Exhibition has been affected after the martial law was lifted. The social implication behind these changes is also discussed.
This thesis is divided into five chapters. The first chapter presents the research purpose, scope, and methods, as well as its importance in this field. It also contains the literature review of related researches, illustrates the overall structure of this thesis, and states major questions which are to be investigated. In the second chapter, it displays a summarized account of the Taiwan Art Exhibition under the marital law period. In the third chapter, it is a comprehensive presentation to analyze internal factors of the exhibition style and its development over the years. In the fourth chapter, it discusses the causality between the unitary style of the Taiwan Art Exhibition and its judge system, which is ascribed to the logic of power structure. This style had significant influence on arts during the early days of retrocession and the martial law period, as well as on the painting style in Taiwan. Moreover, the public art taste and painting contests held by other groups were more or less affected by this style. Afterwards, with Western influences spreading to the East, the Taiwan Art Exhibition started to embrace various styles such as soil culture realism, semi-cubism, post-painting abstractionism, and photo-realism. While this slow transformation toward modernization has been no match for sharp critique from other painting groups.
In the fifth chapter, the conclusion probes into those prizewinning western paintings before and after the martial law was lifted (1977-1997), analyzes characteristics of the time reflected from those works, and reviews how we developed Taiwanese styles of western paintings out of the Japanese influence. It also discusses if this transformation of painting styles has any relationship with our post-colonization qualities. Finally, it concludes with the importance and meanings of the time which the Taiwan Art Exhibition presents in the Taiwan art circle.

參考文獻

蕭瓊瑞，《五月與東方—中國美術現代化運動在戰後台灣之發展（1945-1970）》，台北︰東大圖書股份有限公司，1991。

蕭瓊瑞，《島嶼色彩—台灣美術史論》，台北︰東大圖書股份有限公司，1997。

W. Eugene Kleinbauer， Modern Perspectives in Western Art History ，Holt：Rinehart and Winston，Inc.，1971。

Arnold Hauser， The Social History of Art ，translated in collaboration with the author by Stanley Godman，Vintage Books Edition，September 1957。

Chambers, Iain, Lidia Curti (edited by): The Post-colonial Question: Common skies,divided horizons.London / New York: Routledge, 1996.